The Sources and Analogues of 'A Midsummer-night's Dream' — Inside the Classic

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Sidgwick, Frank, 1879-1939 [Compiler] Project Gutenberg 2005 Not confirmed
Shakespeare, William, 1564-1616. Midsummer night's dream -- Sources; Fairy plays -- Sources; Comedy -- Sources; Fairies -- Literary collections Readers of public-domain and historical texts
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Words 40,133
Reading time 175 min
Text sections 8

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Frank Sidgwick's 1908 compilation traces Shakespeare's sources for A Midsummer Night's Dream across three plots: sentimental, grotesque, and fairy. Includes Robin Goodfellow tales, classical analogues, and editorial commentary on the play's masque-like structure.
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es was to fetch away the girdle of the queen of the Amazons, a gift from her father Ares, the god of fighting. Admete, the daughter of Eurystheus (at whose bidding the twelve labours were performed) desired this girdle, and Hercules was sent by her father to carry it off by force. The queen of the Amazons was Hippolyta, and she had a sister named Antiopa. One story says that Hercules slew Hippolyta; another that Hippolyta was enticed on board his ship by Theseus; a third, as we have seen, that Theseus married Antiopa. It is not easy to choose incidents from these conflicting accounts so as to make a reasonable sequence; but, as North says, "we are not to marvel, if the history of things so ancient, be found so diversely written." Shakespeare simply states that Theseus "woo'd" Hippolyta "with his sword." Later in the play we learn that the fairy King and Queen not only are acquainted with court-scandal, but are each involved with the past histories of Theseus and Hippolyta (II. i. 70-80).

Apart from these incidents in Theseus' life, Chaucer supplies the dramatist with all he requires in the opening of _The Knightes Tale_, which we shall discuss in full shortly.[1]

"Whylom, as olde stories tellen us, Ther was a duke that highte[2] Theseus; Of Athenes he was lord and governour, And in his tyme swich a conquerour, That gretter was ther noon under the sonne. Ful many a riche contree hadde he wonne; What with his wisdom and his chivalrye, He conquered al the regne[3] of Femenye, That whylom was y-cleped[4] Scithia; And weddede the quene Ipolita, And broghte hir hoom with him in his contree With muchel glorie and greet solempnitee, And eek hir yonge suster Emelye. And thus with victorie and with melodye Lete I this noble duke to Athenes ryde, And al his hoost, in armes, him besyde. And certes, if it nere[5] to long to here, I wolde han told yow fully the manere, How wonnen was the regne of Femenye By Theseus, and by his chivalrye; And of the grete bataille for the nones Betwixen Athenës and Amazones, And how asseged[6] was Ipolita, The faire hardy quene of Scithia ..."

Egeus, whom Shakespeare makes a courtier of Theseus and father to Hermia, is in the classical legend Aegeus, father of Theseus; both Plutarch and Chaucer so mention him.

The name of Philostrate also comes from Chaucer, where, as we shall see, it is the name adopted by Arcite when he returns to court in disguise, to become first "page of the chamber" to Emelye, and thereafter chief squire to Theseus. It is in this latter capacity that Chaucer's "Philostrate" is nearest to Shakespeare's character, the Master of the Revels.

Of the four lovers, the names of Lysander, Demetrius, and Helena, are of course classical; Shakespeare would find lives of Lysander and Demetrius in North's Plutarch. The name of Hermia, who corresponds with Emilia or Emily of _The Knightes Tale_, as being the lady on whom the affections of the two young men are set, may have been taken from the legend of Aristotle and Hermia, referred to more than once by Greene. The name cannot be called classical, and appears to be a mistranslation of Hermias.[7]

The story of Palamon and Arcite has not been traced beyond Boccaccio, that fountain of romance, though he himself says the tale of "Palemone and Arcita" is "una antichissima storia." Possibly the story was taken, as much of Boccaccio's writing must have been taken, from tradition. Palaemon is a classical name,[8] and Arcite might be a corruption of Archytas. Boccaccio's _Teseide_ (the story of Theseus) which was written about 1344, and may have been first issued wholly or in part under the title of _Amazonide_, is a poem in the vernacular consisting of twelve books and ten thousand lines in _ottava rima_.[9]

Chaucer, in the Prologue to _The Legend of Good Women_ (which is presumably earlier than the _Canterbury Tales_) states that he had already written

" ... al the love of Palamon and Arcyte Of Thebes, thogh the story is knowen lyte.[10]"

Frank Sidgwick's 1908 compilation approaches A Midsummer Night's Dream not as a unified drama but as a layered entertainment, what he calls 'more of a masque than a drama.' He separates the play into three distinct strands—the main sentimental plot, the grotesque plot, and the fairy plot—and supplies analogues for each. The excerpts reveal a compiler who treats Shakespeare's characters as 'mostly puppets' and notes that 'scarcely any except Bottom has the least psychological interest.' Sidgwick's method is to let the source texts speak, from Robin Good-Fellow pamphlets to classical references, while his own commentary remains brisk and skeptical of over-interpretation.

Three Plots, Three Registers

Sidgwick's organizing principle is the separation of the play into three plots: the main (sentimental), the grotesque, and the fairy. This tripartite structure allows him to treat each strand's sources independently. The sentimental plot draws on romance conventions; the grotesque plot on rustic buffoonery; the fairy plot on folklore and classical myth. Sidgwick notes that 'probability is thrown to the winds; anachronism is rampant; classical figures are mixed with fairies and sixteenth-century Warwickshire peasants.' His editorial voice is precise about the play's hybrid nature, avoiding any claim that one source dominates. The excerpts show him moving from Ovid to medieval romance to popular pamphlets without forcing unity.

Robin Good-Fellow's Double Life

The Robin Good-Fellow material occupies a substantial portion of the illustrative texts. Sidgwick includes a tale where Robin helps a maid by bolting hemp and singing a 'mad song' with refrains like 'With sweet-brier, And bon-fire, And strawberry wire, And columbine.' Another episode shows Robin tricking a lecherous old uncle into consenting to a marriage, then dragging him through a pond. The compiler presents these as analogues to Puck's mischief, but the Robin of the sources is more explicitly a laborer's helper and a moral trickster. Sidgwick does not claim direct borrowing; he lets the reader see the folk tradition Shakespeare likely knew. The songs and prose narratives are printed with minimal annotation, preserving their rough texture.

Dating the Dream: Internal Evidence

Sidgwick addresses the play's date with characteristic caution. He notes that A Midsummer Night's Dream 'must have been acted before or during 1598' and that 'a more exact determination of its date can only be derived from the internal evidence supplied by allusions in the text or by metrical and general style.' He dismisses attempts to link the play to a specific aristocratic wedding as 'theorising, however interesting in other ways, does not concern and will not avail us now.' Instead, he relies on stylistic comparison, placing the play as 'the latest of the early comedies of Shakespeare,' after The Two Gentlemen of Verona but before The Merchant of Venice. This measured approach typifies his editorial stance: evidence-based, resistant to speculation.

Sidgwick's collection rewards readers who want to test Shakespeare's originality against his likely sources. The Robin Good-Fellow tales, in particular, offer a rawer, more rustic version of fairy mischief than the play's refined Puck. Readers may find it useful to read the analogues alongside the play, noting where Shakespeare transforms folk material into poetry and where he preserves its comic core. The compiler's own voice—dry, skeptical, scholarly—provides a steady guide through the thicket of possible influences.

That rainy afternoon, Sidgwick’s Sources and Analogues kept me company. I lingered on Robin Goodfellow’s household mischief, that odd, intimate blend of prank and prayer. Later, rummaging through a friend’s shelf, my fingers found a different kind of praise—quiet, domestic, gloriously plain. It felt like the same gentle, unshowy reverence, just spoken in another century’s voice. The Praise of a Godly Woman — Edition Insights waits there, patient as a well-worn page.

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